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Relevant bibliographies by topics / Special effects artists

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Academic literature on the topic 'Special effects artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Special effects artists"

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Turnock, Julie. "Patient research on the slapstick lots: From trick men to special effects artists in silent Hollywood." Early Popular Visual Culture 13, no. 2 (2015): 152–73. http://dx.doi.org/10.1080/17460654.2015.1025531.

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DE LA FUENTE, ALEJANDRO. "The New Afro-Cuban Cultural Movement and the Debate on Race in Contemporary Cuba." Journal of Latin American Studies 40, no. 4 (2008): 697–720. http://dx.doi.org/10.1017/s0022216x08004720.

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AbstractThis paper analyses recent debates on race and racism in Cuba in the context of changing economic and social conditions in the island. Since the early 1990s, and largely in response to the negative effects that the so-called Special Period had on race relations, a group of artists and intellectuals began denouncing the persistence of racist practices and stereotypes in Cuban society. Although they are not organised around a single program or institution, these musicians, visual artists, writers, academics and activists share common grievances about racism and its social effects. It is in this sense that they constitute a new Afro-Cuban cultural movement. It is too early to fully assess the impact of this movement, but these artists and intellectuals have been largely successful in raising awareness about this problem and bringing it to the attention of authorities and the Cuban public.

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Smith, Matthew Ryan. "Strange Brew: Art, Protest, and the Anti-Fracking Movement." Afterimage 46, no. 1 (2019): 3–16. http://dx.doi.org/10.1525/aft.2019.461002.

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This article examines how contemporary artists respond to the technique of hydraulic fracturing, more commonly known as “fracking.” Drawing on examples of political protest and social activism, with special focus on the ways that artistic interventions challenge energy corporations in galleries and museums, Smith analyzes how artists fuse concerns over the environment with critical aesthetics. By doing so, they explore the problematic relationships between fracking and climate change, waste, environmental degradation, pollution, and public health. In the wake of new data, research, and dissent, it is argued that contemporary art visualizes protest and continues to play a role in picturing the potentially harmful effects of fracking. Accordingly, Smith proposes that artists formulate innovative ways to confront an authoritative fuel industry and translate key issues into new modes of understanding.

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Baumgarth, Carsten. "Brand management and the world of the arts: collaboration, co-operation, co-creation, and inspiration." Journal of Product & Brand Management 27, no. 3 (2018): 237–48. http://dx.doi.org/10.1108/jpbm-03-2018-1772.

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Purpose This paper aims to present historical examples of collaborations between brand strategists and artists; provide an extensive, structured overview of existing published research on such collaborations and their effects; present seven papers comprising this special issue; and discuss ideas for further research into brand–art collaboration. Design/methodology/approach This is an editorial based mainly on an extensive and broad literature review. Findings First, this editorial underpins the relevance of brand–art collaboration in the past and present by reference to real examples. Second, it structures the diverse literature into four key aspects of the topic: inspiration, insights, identity and image. Third, it provides a glimpse of the seven papers selected for this special issue. Fourth and finally, it identifies a total of 16 avenues for further research, on four levels (artist, brand owner, consumer and cooperation process). Originality/value This editorial and the entire special issue together represent the first anthology on the topic of the interface between brand management and arts. The collection and classification of the existing literature, the formulation of ideas for future research and the content of the seven papers are collectively excellent starting springboards for new and fresh brand research projects.

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Hawk Polk, Dyani White. "The Long Game." Arts 9, no. 2 (2020): 67. http://dx.doi.org/10.3390/arts9020067.

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We are pleased and honored to include the keynote address delivered by award-winning Sičáŋǧu Lakota artist, Dyani White Hawk Polk at the Native American Art Studies Association Conference (NAASA) on 2 October 2019. The NAASA is the leading professional and scholarly organization supporting and promoting the study and exchange of ideas related to Indigenous arts in the United States and Canada. At the organization’s biennial conference in Minneapolis, Minnesota, and while standing on Dakota traditional lands, Dyani White Hawk Polk delivered her important address, “The Long Game.” In it, she movingly and powerfully explores her life experiences, the history of and ongoing effects of colonialism, and how both inform her artistic practice. Her address traces the roles of mentors in her life, including the late Ho-Chunk artist, Truman Lowe, who taught at the University of Wisconsin, Madison during her time in the MFA program. She eloquently speaks to the challenges she has faced in tackling head-on hierarches in the art world that have continuously sought to diminish the significance of Indigenous art. She also provocatively addresses how artists, scholars, and critics can build the field of Indigenous art and support Indigenous artists. The address was widely praised at the conference, owing to the power and beauty of her words, as she spoke to how the past effects the present and as she illuminated a path for the future. We are grateful to be able to include her address in this Special Issue of Arts journal. Her thought-provoking address is both an artistic statement and a profound and moving commentary on the state of the Indigenous art world.

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Copeland, Huey, and Krista Thompson. "Perpetual Returns: New World Slavery and the Matter of the Visual." Representations 113, no. 1 (2011): 1–15. http://dx.doi.org/10.1525/rep.2011.113.1.1.

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In this introduction to the special issue New World Slavery and the Matter of the Visual, Huey Copeland and Krista Thompson not only frame the scholarly essays and artists' portfolios collected in the volume but also argue for a reorientation of both art history and black studies in light of the ongoing specular effects of racial bondage. In so doing, they underline the importance of the visual to the rewiring of slavery's imaginary by examining the ways in which black subjects have appropriated widely available representational means only to undo their formal contours, break apart their significatory logic, or reduce them to their very substance.

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Spigel, Lynn. "The American Connection: Jean-Christophe Averty and his U.S. TV Contemporaries." Cinémas 26, no. 2-3 (2017): 173–97. http://dx.doi.org/10.7202/1039371ar.

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This essay explores the television productions of Ernie Kovacs and Charles and Ray Eames, analyzing their pioneering audio-visual experiments in the American network broadcast system of the mid-century period. It examines how their work with TV graphics, montage, collage, sound, video tricks and special effects relates to Jean Christophe Averty’s work in French TV in the same period. It explores the “experimental spirit” across the Atlantic before the rise of video art per se, demonstrating how all of these early TV artists challenged dominant conceptions of what TV should be in their respective national and industrial contexts. Finally, it calls for more historical research on and theoretical inquiry into the complex relationships between art, design and commercial TV at mid-century.

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Abrasowicz, Gabriela. "Wobec kapitalistycznej (pseudo)wolności. Teatralne manifesty na postjugosłowiańskich scenach." Miscellanea Posttotalitariana Wratislaviensia 8 (July 22, 2021): 135–47. http://dx.doi.org/10.19195/2353-8546.8.11.

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The turn of the millennia was full of events fundamental to negotiating and reinterpreting freedom. The citizens of the collapsing federal Yugoslavia, and then the seven new states that were forming, experienced this in a special way. Post-Yugoslav authors of theatrical manifestos, such as Maja Pelević and Olga Dimitrijević from Serbia, Borut Šeparović from Croatia, András Urbán and Zlatko Paković active in the supralocal area, show a special flair for unmasking. They warn that modern ways of exercising freedom leave much to be desired, since they are limited to the consumption of goods and, consequently, to escaping responsibility. In their performances, they are critical of capitalism in its dehumanising, alienating form, which is only an illusion of freedom. These artists, however, do not offer ready-made solutions — their projects are a starting point for further debate on devising the future of the country and region, on attitudes and relationships (including interpersonal), on (re)constructing identity and on the continuous creation of new ranges of possibilities and effects. They use artistic freedom to speak openly about the boundaries of freedom.

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Archer, Martin O. "Space Sound Effects Short Film Festival: using the film festival model to inspire creative art–science and reach new audiences." Geoscience Communication 3, no. 1 (2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.

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Abstract. The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into short films in creative ways. Seven films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special film festival out of 22 submissions. The works have subsequently been shown at numerous established film festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science.

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Kumar Gupta, Ajay. "PSYCHOLOGICAL EFFECTS OF COLOR AND COLOR THERAPY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3650.

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Many opinions about colors are popular, but most of the artists nowadays follow the opinion of Aust Wald, according to their opinion, the main colors are yellow, red, blue and green, these are four and the ideal color is eight. The first four colors are called primordial (vatpahdans) colors and the second four i.e. purple, sky, orange and dhani are called second colors (Aambavadakantal). Apart from this, there are three colors and black, white, khaki (oval), these are called neutral colors (chamanjatans), they are mostly used to decrease and increase the color of other colors. The psychological impact of these colors has on human life, which has been considered the origin of colors on this Vasundhara since the birth of creation. Since ancient times, there have been different beliefs in terms of colors, such as red color - passion and revolution, black color - inauspicious, negative, green color - optimism brings happiness, blue color - peace, white color - purity brings reconciliation etc. Through colors on the canvas of paintings, the artist, in his silent language, shapes happiness, pain, agony with his imaginations and transmits his feelings to another. These pictures have many colors, we just have to understand them. There are many colors in nature which awaken the feeling of happiness in our mind and provide new energy. In today's time, imagining a world without colors for a moment is not only difficult. While colors have a special place in life, in the world, whatever we see with our eyes, the effect of color is first visible because many colors are present in the world. रंगों के विषय में अनेक मत प्रचलित है पर आजकल के अधिकांश कलाकार आस्ट वाल्ड के मत को ही मानते है इनके मतानुसार मुख्य रंग पीला, लाल, नीला और हरा ये चार होते है और आदर्श रंग आठ होते है। प्रथम चार रंगों को मौलिक (व्तपहदंस) रंग कहते है और दूसरे चार अर्थात बैगनी, आसमानी, नारंगी और धानी को द्वितीय रंग (ैमबवदकंतल) कहते है। इनके अतिरिक्त तीन रंग और है काला, सफेद, खाकी (ळतंल) इनको तटस्थ रंग (छमनजतंस) कहते है इनका प्रयोग अधिकतर अन्य रंगों की सुषमा (ज्वदम) को घटाने और बढ़ाने में किया जाता है। इन्ही रंगों का मनौवैज्ञानिक प्रभाव मानव जीवन पर पड़ता है जो सृष्टि के जन्म से ही इस वसुन्धरा पर रंगो की उत्पत्ति का प्रार्दुभाव माना गया है। प्राचीनकाल से ही रंगो के संदर्भ में अलग-अलग मान्यतायें रही है जैसे लाल रंग - जोश एवं क्रांति, काला रंग - अशुभ, अनिष्ट, हरा रंग- आशावादिता खुशहाली, नीला रंग - शान्त, सफेद रंग - पवित्रता सुलह आदि का परिचय देता है। रंगो के माध्यम से चित्रों के कैनवास पर कलाकार अपनी मौन भाषा में खुशी, पीड़ा, व्यथा को अपनी कल्पना शक्ति से आकार प्रदान कर अपनी भावनाओं को दूसरे तक पहुंचाता है। इन चित्रों के अनेक रंग रूप होते है, हमें सिर्फ उन्हें समझना पड़ता है। प्रकृति में बहुत से रंग है जो हमारे मन में खुशी की भावना जागृत कर नई उर्जा प्रदान करते है। आज के समय में क्षण भर के लिए बिना रंगों के संसार की कल्पना कठिन ही नही असम्भव है। जहां रंगों का जीवन में विशिष्ट स्थान है वहीं संसार में हम अपनी आंखों से जो कुछ भी देखते है उनमें सबसे पहले रंग का प्रभाव दृष्टिगोचर होता है क्यांेकि सृष्टि में अनेकों रंग विधमान है।

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Dissertations / Theses on the topic "Special effects artists"

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Gardner, Garth Anthony. "Informal computer-art education : a focus on the art and historical impact of computer generated special visual effects and the pedagogy of the artists who create them professionally in the San Francisco Bay Area production companies." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260996311.

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Gardner, Garth. "Informal computer-art education : a focus on the art and historical impact of computer generated special visual effects and the pedagogy of the artists who create them professionally in the San Francisco Bay Area production companies /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu148786754173134.

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Fuller, David 1960. "The significance of the photographic message." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277233.

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Photographic realism is an effective framework for communicating meaning. In other words, the purpose is to convey an idea--not, for example, to depict a landscape. Misuse of photographic images may arise from a photographer's deliberate attempt to imbue an image with the meaning he or she desires. Thus, we might question photography's objective nature, although this should not be confused with realism. The latter refers to the imitative or representational quality of the subject, the former refers to scientific validity or truth. The issue of objectivity suggests useful concepts for art education. First, this paper considers photographic realism--technique is not a primary concern. Second, procedures that can alter realism are made evident. By understanding and using these methods, a student can more successfully comprehend and alter the photographic message.

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Weng, Shih-Hang, and 翁士航. "The Comparative Study of the Effects of Vibration Training and Unstable Surface Training on the Basic Lower Limbs and Special Skills of Artistic Gymnasts." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/fejx55.

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博士<br>臺北市立大學<br>競技運動訓練研究所<br>106<br>Objective: The effect of vibration training combined with unstable surface training on artistic gymnastics athletes’ basic lower-extremity and item-specific skills was investigated. Method: A total of 8 weeks of vibration training combined with unstable surface training was administered to 18 college-level artistic gymnasts. They were randomly divided into two groups, one receiving high-frequency (40 Hz) vibration training (N = 9) and the other receiving low-frequency (25 Hz) vibration training (N = 9). All participants received tests before the onset of the training and at Weeks 4, 6, and 8. The parameters collected at these four tests included: countermovement jump, balancing squat, front somersault, back somersault, and springboard approach and take-off. Nonparametric statistics were also adopted to analyze the dependent and independent samples to determine the basic lower-extremity and item-specific skill performance within each group, as well as to compare the performance between groups. Results: After 8-week training, athletes in the 40 Hz group improved significantly in the countermovement jump, balancing squat, back somersault, and springboard approach and take-off; however, no significant differences were observed in the 25Hz group. Moreover, the results of the independent sample analysis revealed that the 40Hz group scored significantly higher than the 25Hz group in the tests on back somersault, front somersault, and springboard approach and take-off. Conclusion: Vibration training combined with unstable surface training can effectively enhance athletes’ lower-extremity and item-specific skills, but only if the vibration training is at a high enough frequency. In addition, the training period should last at least 6 weeks to obtain optimal training effects.

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Books on the topic "Special effects artists"

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Riley, Gail Blasser. Wah Ming Chang: Artist and master of special effects. Enslow Publishers, 1995.

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Adobe Photoshop for VFX artists. Thomson Course Technology PTR, 2005.

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Special effects artists: A worldwide biographical dictionary of the pre-digital era. McFarland & Co., 2008.

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Patel, Mayur. The digital visual effects studio: The artists and their work revealed. Clock and Flame Studios, 2009.

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translator, Werry John (Translator), ed. Behind the scenes! Viz Media, 2017.

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translator, Werry John (Translator), ed. Behind the scenes! Viz Media, 2016.

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Steve, Wright. Compositing visual effects: Essentials for the aspiring artist. Elsevier/Focal Press, 2008.

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translator, Werry John (Translator), ed. Behind the scenes! Viz Media, 2016.

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Elizabeth, Murray. Painterly photography: Awakening the artist within. Pomegranate Artbooks, 1993.

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Palmer, Randy. Paul Blaisdell, monster maker: A biography of the B movie makeup and special effects artist. McFarland, 1997.

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Book chapters on the topic "Special effects artists"

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Sciortino, Christine. "“Out-of-Kit” Special Effects." In Makeup Artistry for Film and Television. Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-16.

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"Special visual artists: The effects of autism and slowbrain atrophy on art productionand creativity." In Neuropsychology of Art. Psychology Press, 2013. http://dx.doi.org/10.4324/9780203759691-9.

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Rehak, Bob. "Used Universes and Immaculate Realities." In More Than Meets the Eye. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479813155.003.0003.

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One of the biggest changes in franchise building has been the refinement of digital tools for previsualizing special effects. This chapter explores the creation of the original Star Wars (1977), focusing on George Lucas as a techno-auteur whose use of animatics was central to creating the film’s world. Beyond production design, however, previz enabled Lucas to extend his authorial brand to encompass the contributions of other artists and pop-culture influences, minting originality out of appropriation. The chapter considers Lucas’s “Special Editions” of the late 1990s as examples of the previz mind-set, noting parallels with the design networks and creative fan productions around Star Trek.

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KEHOE, V. "Special Effects." In The Technique of the Professional Make-Up Artist. Elsevier, 1995. http://dx.doi.org/10.1016/b978-0-240-80217-6.50026-x.

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"Special Effects." In The Technique of the Professional Make-Up Artist. Routledge, 1995. http://dx.doi.org/10.4324/9780080518626-29.

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"Make-up Special Effects." In The Technique of the Professional Make-Up Artist. Routledge, 1995. http://dx.doi.org/10.4324/9780080518626-20.

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Turnock, Bryan. "Body Horror." In Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0011.

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This chapter describes Canadian film-maker David Cronenberg as one of the most highly regarded auteurs within the horror genre. During the 1970s and 1980s, from low-budget independents to high-profile studio productions, the viewing of a 'David Cronenberg film' usually promised horror audiences a unique and disturbing experience. Coinciding with advances in make up and special effects, and the rise in popularity of the artists who created them, Cronenberg's films spearheaded one of the most popular sub-genres of the 1980s in the form of 'body horror'. The chapter looks at how and why this sub-genre emerged, a product of technological, commercial, and cultural changes in the industry, and how it relates to the 'transformation' films that had gone previously. It also discusses how such a distinctive director as Cronenberg was able to produce a successful mainstream horror film (The Fly, 1986) while remaining true to his own world view, and the lasting influence of his work on the genre as a whole.

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Page, Robert E. "Environmental Artists." In The Art of the Bee. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197504147.003.0001.

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One hundred twenty-five million years ago, the earth exploded with color with the rapid evolution of flowering plants. The explosion coincided with the rapid increase of species of bees. The bees and flowering plants were locked in a dialectical dance of coevolution, each becoming adapted to the other. The flowers evolved to exploit the feeding habits of bees, and bees evolved to rob the flowers of their precious loads of pollen and nectar. Bees became social and developed communication and navigational systems to better exploit their environment. They continue to transform our world through their effects on the agricultural landscapes and the food we eat. But today the honey bee is threatened. Populations are declining, a consequence of commercial beekeeping and agricultural practices.

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Loew, Katharina. "Imagining Technological Art: Early German Film Theory." In Special Effects and German Silent Film. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_ch01.

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As a form of popular mass entertainment and an apparatus for the automatic reproduction of material reality, cinema’s artistic aspirations seemed futile. Some early commentators nonetheless asserted that the new medium could be a legitimate object of aesthetic scrutiny. In an attempt to fathom cinema’s immaterial values, early film theorists including Herbert Tannenbaum and Georg Lukács explored cinema’s kinship with folk art, mental processes and the fantastic. They argued that film technology, specifically special effects, could articulate ideas in a sensual form and thus provide a pathway to a spiritual dimension. As this chapter shows, their techno-romantic lines of argument conceptualized the medium within established aesthetics and set the stage for the recognition of cinema as the first technological art.

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Loew, Katharina. "The Uncanny Mirror: Der Student von Prag (1913)." In Special Effects and German Silent Film. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_ch03.

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The first German film to excite art critics was simultaneously a milestone in the history of special effects. Der Student von Prag was co-created by some of Germany’s most ardent early cinephiles with the goal to demonstrate the feasibility of film art. Proceeding from techno-romantic assumptions, they construed artistic filmmaking as the articulation of ideas and feelings through the imaginative application of the medium’s technological assets, specifically location shots and trick effects. Consequently, Der Student von Prag depicts the intrusion of an uncanny doppelganger into a real-life setting, the mystical city of Prague. As a vehicle for abstract notions, the horrific double thus bore witness to cinema’s ability to convey figurative meaning and participate in the life of the mind.

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Conference papers on the topic "Special effects artists"

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Niculescu, Olga, Carmen Gaidau, Elena Badea, Lucretia Miu, Dana Gurau, and Demetra Simion. "Special effect finish for bookbinding leather." In The 8th International Conference on Advanced Materials and Systems. INCDTP - Leather and Footwear Research Institute (ICPI), Bucharest, Romania, 2020. http://dx.doi.org/10.24264/icams-2020.ii.21.

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The art of bookbinding requires not only skills in the old craft of bookbinding but also materials that can transform a simple book into a high-quality artistic product. Due to its unique properties, leather still remains the first-choice material in the case of art and archival bindings. However, the long-term durability of modern leather is not known since there is little commercial interest in long periods of durability and the market of leather for art, design and archival purposes is very small. It is worth noting that deterioration is influenced by the manufacturing technology, and especially by the chemical ingredients used in the various steps of leather making, from dehairing to tanning and finishing. It is therefore very likely that modern and contemporary artworks made of/with modern leather undergo faster degradation than ancient and medieval artworks. Thus, leather finishing is very important for both artistic and sustainable points of view. In fact, finishes with special effects such as antique, bicolour, printed, cracked, waxy are highly sought for vegetable tanned leather used for artistic and luxury bookbinding, archival bookbinding and restoration purposes. The evolving leather finishing technology of chrome-free leather (i.e. vegetable tanned leather) has enabled us to protect and improve the quality, look and feel of leather and to make it suitable for contemporary art bindery.

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